Post-Punk Britain 1975-Present - V1420 - Lucy Robinson | Sussex University

Post-Punk Britain 1975-Present - V1420 - Lucy Robinson | Sussex University

10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University Post-Punk Britain 1975-present - V1420 - View Online Lucy Robinson [1] Adams, R. 2008. The Englishness of English punk: Sex Pistols, subcultures, and nostalgia. Popular Music and Society. 31, 4 (Oct. 2008), 469–488. DOI:https://doi.org/10.1080/03007760802053104. [2] Adams, R. 2008. The Englishness of English punk: Sex Pistols, subcultures, and nostalgia. Popular Music and Society. 31, 4 (Oct. 2008), 469–488. DOI:https://doi.org/10.1080/03007760802053104. [3] Albertine, V. 2015. Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys. Faber & Faber. [4] Albiez, S. 2003. Know history!: John Lydon, cultural capital and the prog/punk dialectic. Popular Music. 22, 3 (2003), 357–374. [5] Albiez, S. 2006. Print the truth, not the legend. The Sex Pistols: Lesser Free Trade Hall, Manchester, June 4, 1976. Performance and Popular Music: History, Place and Time. I. Inglis, ed. Ashgate. 92–106. [6] 1/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University Albini, S. 1997. Commodify Your Dissent | Ch: ‘The problem with music’. Commodify Your Dissent: Salvos from ’The Baffler". M. Weiland and T. Frank, eds. W.W.Norton. 164–176. [7] Allen, R. 1993. The Complete Richard Allen, vol. 2: ‘Skinhead Girls’, ‘Sorts’, ‘Knuckle Girls’. S.T. Publishing. [8] Almond, M. 1999. Tainted Life. Sidgwick & Jackson. [9] Anarchy in the UK: http://www.bfi.org.uk/archive-collections/introduction-bfi-collections/bfi-mediatheques/anar chy-uk. [10] Anderson, S. 2003. Television Histories | Ch: ‘History TV and popular memory’. Television Histories: Shaping Collective Memory in the Media Age. G.R. Edgerton and P.C. Rollins, eds. University Press of Kentucky. 19–36. [11] Ant, A. 2007. Stand & Deliver: the Autobiography. Pan. [12] Aston, M. 2013. Facing the Other Way: the Story of 4AD. The Friday Project. [13] Atton, C. 2010. Popular music fanzines: genre, aesthetics, and the ‘democratic conversation’. Popular Music and Society. 33, 4 (Oct. 2010), 517–531. DOI:https://doi.org/10.1080/03007761003694316. 2/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University [14] Attwood, F. 2007. Sluts and Riot Grrrls: female identity and sexual agency. Journal of Gender Studies. 16, 3 (Nov. 2007), 233–247. DOI:https://doi.org/10.1080/09589230701562921. [15] Back, L. 2000. Voices of hate, sounds of hybridity: black music and the complexities of racism. Black Music Research Journal. 20, 2 (2000), 127–149. [16] Baker, S. and Huber, A. 2013. Notes towards a typology of the DIY institution: identifying do-it-yourself places of popular music preservation. European Journal of Cultural Studies. 16, 5 (Oct. 2013), 513–530. DOI:https://doi.org/10.1177/1367549413491721. [17] Baker, S. and Huber, A. 2013. Notes towards a typology of the DIY institution: identifying do-it-yourself places of popular music preservation. European Journal of Cultural Studies. 16, 5 (Oct. 2013), 513–530. DOI:https://doi.org/10.1177/1367549413491721. [18] Barnard, M. 1996. Chapter 6 ‘Fashion, clothing and social revolution’. Fashion as Communication. Routledge. [19] Baron, S.W. 1989. Resistance and its consequences: the street culture of punks. Youth & Society. 21, 2 (Dec. 1989), 207–237. DOI:https://doi.org/10.1177/0044118X89021002005. [20] Bayton, M. 1998. Frock Rock: Women Performing Popular Music. Oxford University Press. 3/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University [21] Becker, S. 2012. Editor’s Note: ‘The world’s a mess it’s in my kiss': punk women and why they matter. Women’s Studies. 41, 2 (Mar. 2012), 117–120. DOI:https://doi.org/10.1080/00497878.2012.636326. [22] Beer, D. 2014. Punk Sociology. Palgrave Pivot. [23] Bell, D. and Valentine, G. 1995. Mapping Desire: Geographies of Sexualities. Routledge. [24] Bennett, A. 2009. As young as you feel: youth as a discursive construct. Youth Cultures: Scenes, Subcultures and Tribes. P. Hodkinson and W. Deicke, eds. Routledge. [25] Bennett, A. 2009. As young as you feel: youth as a discursive construct. Youth Cultures: Scenes, Subcultures and Tribes. W. Deicke and P. Hodkinson, eds. Routledge. [26] Bennett, A. 2004. Consolidating the music scenes perspective. Poetics. 32, 3-4 (Jun. 2004), 223–234. DOI:https://doi.org/10.1016/j.poetic.2004.05.004. [27] Bennett, A. 2009. ‘Heritage rock’: rock music, representation and heritage discourse. Poetics. 37, 5-6 (Oct. 2009), 474–489. DOI:https://doi.org/10.1016/j.poetic.2009.09.006. [28] Bennett, A. 2013. Music, Style, and Aging: Growing Old Disgracefully?. Temple University Press. 4/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University [29] Bennett, A. 2006. Punk’s not dead: the continuing significance of punk rock for an older generation of fans. Sociology. 40, 2 (Apr. 2006), 219–235. DOI:https://doi.org/10.1177/0038038506062030. [30] Bennett, A. 1999. Subcultures or neo-tribes? Rethinking the relationship between youth, style and musical taste. Sociology. 33, 3 (Aug. 1999), 599–617. DOI:https://doi.org/10.1177/S0038038599000371. [31] Bennett, A. 2011. The post-subcultural turn: some reflections 10 years on. Journal of Youth Studies. 14, 5 (Aug. 2011), 493–506. DOI:https://doi.org/10.1080/13676261.2011.559216. [32] Bennett, A. and Hodkinson, P. 2012. Ageing and Youth Culture: Music, Style and Identity. Berg. [33] Bennett, A. and Peterson, R.A. 2004. Music Scenes: Local, Translocal and Virtual. Vanderbilt University Press. [34] Bennett, A. and Peterson, R.A. 2004. Music Scenes: Local, Translocal and Virtual. Vanderbilt University Press. [35] Bennett, A. and Stratton, J. 2010. Britpop and the English Music Tradition. Ashgate. 5/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University [36] Benyon, J. 1984. Scarman and After: Essays Reflecting on Lord Scarman’s Report, the Riots, and their Aftermath. Pergamon Press. [37] Berger, G. 2009. The Story of Crass. PM Press. [38] Bernie ̀ re, V. et al. 2013. Punk Press: Rebel Rock in the Underground Press, 1968-1980. Abrams. [39] Bestley, R. 2011. From ‘London’s Burning’ to ‘Sten Guns in Sunderland’. Punk & Post Punk. 1, 1 (Sep. 2011), 41–71. DOI:https://doi.org/10.1386/punk.1.1.41_1. [40] Bestley, R. and Ogg, A. 2012. The Art of Punk: the Illustrated History of Punk Rock Design. Voyageur Press. [41] Bill Grundy interviews the Sex Pistols, 1 December 1976 (Youtube): http://www.youtube.com/watch?v=0knFHyDD150. [42] Black, P. 2012. Black by Design: a 2-Tone Memoir. Serpent’s Tail. [43] Blake, M. and Harry, D. 2008. Punk: the Whole Story. DK Publishing. 6/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University [44] Boëthius, U. 1995. Youth Culture in Late Modernity | Ch: ‘Youth, the media and moral panics’. Youth Culture in Late Modernity. J. Fornas and G. Bolin, eds. Sage. 39–57. [45] Bovey, S. 2006. ‘Don’t tread on me’: the ethos of '60s garage punk. Popular Music and Society. 29, 4 (Oct. 2006), 451–459. DOI:https://doi.org/10.1080/03007760600787515. [46] Boym, S. 2002. The Future of Nostalgia. BasicBooks. [47] Brake, M. 1980. The Sociology of Youth Culture and Youth Subcultures: Sex and Drugs and Rock ‘n’ Roll? Routledge and Kegan Paul. [48] Brandellero, A. and Janssen, S. 2013. Popular music as cultural heritage: scoping out the field of practice. International Journal of Heritage Studies. (May 2013), 1–17. DOI:https://doi.org/10.1080/13527258.2013.779294. [49] Brewster, B. and Broughton, F. 2000. Last Night a DJ Saved my Life: the History of the Disc Jockey. Headline. [50] Bridger, S. ed. 2AD. Punk Britannia: 2. Punk 1976-1978. BoB : Learning on Screen. BBC4. [51] 7/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University Brighton Podcasts - VisitBrighton: http://www.visitbrighton.com/things-to-do/walking-guides/podcasts. [52] Brill, D. 2009. Gender status and subcultural capital on the Goth scene. Youth Cultures: Scenes, Subcultures and Tribes. P. Hodkinson and W. Deicke, eds. Routledge. 111–125. [53] Brody, N. and Wozencroft, J. 1988. The Graphic Language of Neville Brody. Thames and Hudson. [54] Browne, K. 2007. A party with politics? (Re)making LGBTQ Pride spaces in Dublin and Brighton. Social & Cultural Geography. 8, 1 (Feb. 2007), 63–87. DOI:https://doi.org/10.1080/14649360701251817. [55] Brown, J. 2011. ‘Brown girl in the ring’: Poly Styrene, Annabella Lwin, and the politics of anger. Journal of Popular Music Studies. 23, 4 (Dec. 2011), 455–478. DOI:https://doi.org/10.1111/j.1533-1598.2011.01306.x. [56] Brown, T.S. 2004. Subcultures, pop music and politics: skinheads and ‘Nazi Rock’ in England and Germany. Journal of Social History. 38, 1 (2004), 157–178. [57] Bull, G. and Baxter, M. eds. 2015. Not Just Bits of Paper. Perdam Babylonis Nomen Publications. [58] Bull, G. and Dines, M. eds. 2014. Tales from the punkside. Itchy Monkey Press. 8/76 10/01/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University [59] Bull, G. and Dines, M. eds. 2014. Tales from the punkside. Itchy Monkey Press. [60] Burchill, J. 2014. Unchosen: the Memoirs of a Philo-Semite. Unbound. [61] Burchill, J. and Parsons, T. 1978. The Boy Looked at Johnny | Chptrs: ‘“Sex”; “Drugs”; “Ashes”.’ The Boy Looked at Johnny: the Obituary of Rock and Roll. Pluto Press. 29–35; 74–78;96. [62] Bynner, J.M. et al. 1997. Youth, citizenship and social change in a European context. Ashgate. [63] Cain, B. 2007. ’77 Sulphate Strip: an Eye Witness Account of the Year That Changed Everything. Ovolo. [64] Campbell, A. 2006. The search for authenticity: an exploration of an online skinhead newsgroup.

View Full Text

Details

  • File Type
    pdf
  • Upload Time
    -
  • Content Languages
    English
  • Upload User
    Anonymous/Not logged-in
  • File Pages
    76 Page
  • File Size
    -

Download

Channel Download Status
Express Download Enable

Copyright

We respect the copyrights and intellectual property rights of all users. All uploaded documents are either original works of the uploader or authorized works of the rightful owners.

  • Not to be reproduced or distributed without explicit permission.
  • Not used for commercial purposes outside of approved use cases.
  • Not used to infringe on the rights of the original creators.
  • If you believe any content infringes your copyright, please contact us immediately.

Support

For help with questions, suggestions, or problems, please contact us